Skip to main content

Section 2: Project COMPOSITION: Research Point: Negative spaces.

The use of the Negative Space in art fascinates me - I think specifically of Paul Gaugin who used it very effectively in his paintings:
In his Vision of the Sermon the fabulous use of the bold, red, negative space speaks volumes about the atmosphere of the painting and draws our attention over the heads of the Breton maids and fixes it on the scene of Jacob wrestling with the angel. Here Gaugin uses the negative space as a focal point as well as a device which arouses our emotions gives voice to an unusual view of the imagined impact of a sermon on the Breton woman.
Guagin, Paul. The Vision after the Sermon. (online) [available from: https://www.gauguingallery.com/biography-developing-as-gauguin.aspx]

Gaugin, Paul. Portrait of Van Gogh Painting Sunflowers c1889. (online) [available from: https://www.gauguingallery.com/biography-developing-as-gauguin.aspx]

In his Portrait of Van Gogh paiting sunflowers, Gaugin creates a wonderful tension between the artist and his canvas with the use of the negative space. The bold yellow, blue and green bands pull us from artist to canvas and back again.

Artist's who use negative shapes creatively in their work:
Hume, G. 1998 Serith. (online) [available from: https://www.tate.org.uk/art/artists/gary-hume-2403]


Da Franca, Henrique. (online) [available from https://mymodernmet.com/negative-space-art/]

I like this. The large , overwhelming white space lends a feeling of vulnerability to the figures.

These artists use Negative spaces as a device: it seems to me to be contrived and gimicky but has an interesting and whimisical appeal, nonetheless.
Tang Yua Hoong. (online) [available from: 
 https://mymodernmet.com/negative-space-art/]
Fukuda, Shigeo. (online) [Available from: https://mymodernmet.com/negative-space-art/]

Comments

Popular posts from this blog

Sketchbook

I'm finding the discipline of drawing everyday so beneficial ; I look forward to the time when I can settle down and do it.. And I  can see growth. The first one is of my supper and the second a dead bird I found in the woods. #adelefoucheart

Project 2: Exercise 3: Creating Shadows with lines and marks.

Did a lot of practice here before I attempted the exercise. What I learnt here is that implied lines are enough and by not outlining the objects a looser, softer and yet "more real" effect is obtained. This is interesting to me - is it because the brain completes the picture and is therefor more involved in the process and is then more invested in being interested in the painting?! This was 4B pencil. This is some of the practice. Got bored so the bottom 2 ain't great...

Project 1: Research Point: Atmospheric Potential of Tone/Odilon Redon

Odilon Redon is one of my favourite artists. I enjoyed discovering his lithographs and works in charcoal, having only ever seen or known of his later paintings. My research shows that until the middle of the 1890's, Redon devoted himself primarily to his graphic work, engravings and drawings, and notably to the  noirs : unusual and precious charcoal drawings, which he exhibited in Paris for the first time at the beginning of the 1880. He explained his discovery of charcoal in a letter published by the magazine  L'Art Moderne  in June 1894, under the heading "Confidences d'Artiste" (Artist's Secrets). "This everyday substance, which has no beauty of its own, aided my researches into chiaroscuro and the invisible. It is a neglected material, scorned by artists." 1. It is his use of value (or tone) in his noirs that really express the use of atmospheric tone to be studied here. In much of the work a considerable amount of dark tones can be seen ...